MAY 2021 ON TCM

May 2021 on TCM is offering a nice assortment of Lee Marvin films as well as Lee Marvin related films for the diehard and novice fan alike. Unfortunately, the treasures are not on display until the middle of the month and later. However, the line-up is certainly worth waiting for as it includes projects from the earliest part of his lengthy career as well as Marvin inspired projects and films he was offered but ultimately turned down. All of which makes for a wonderful cross section for May 2021 on TCM. Titles and dates are listed below but check local listing for air time. If you want greater detail as to each projects’ importance, there’s always Lee Marvin Point Blank

The Big Heat (1953), Saturday, May 15th: Fritz Lang’s ultra violent crime thriller (at least for 1953) stars Glenn Ford as a tough city cop out to bust up the mob responsible for his wife’s murder.

Debbie (Gloria Grahame) taunts her sadistic boyfriend, Vince Stone (Lee Marvin).


A terrific supporting cast actually steal the show (especially pouty-lipped Gloria Grahame), and that includes a young Lee Marvin as sadistic Vince Stone, dubbed by N.Y. Times critic Vincent Canby as “The Merchant of Menace,” and with good reason! Marvin’s opinion of his director and costars are detailed in Lee Marvin Point Blank, as well as a rather unsavory run-in concerning Glenn Ford several years later. 

The Rack (1956), Thursday, May 20th: A showcase for the talents of a young Paul Newman, this Rod Serling & Stewart Stern scripted drama explores the phenomenon of American soldiers consorting with the enemy during the Korea War. Marvin delivers in a small yet essential role in two powerful scenes. An all-star cast enlivens the proceedings with Marvin and Newman reuniting on more equal ground almost two decades later for Pocket Money (1972).

Original ad campaign for THE RACK (1956).


I had not written much about The Rack in my book due to Marvin’s small contribution, but this blog helped me discover a fascinating detail that I would have included had I known about it at the time. Instead, it can be read here

Petulia (1968), Friday, May 21st: Director Richard Lester’s stylized film depicting swinging 1960’s San Francisco was first offered to Marvin who turned it down. In doing so, it opened the door to allow George C. Scott to play the frustrated middle-aged doctor infatuated with the kooky title character played by the luminous Julie Christie. The film is a time capsule

The original psychedelic poster art for PETULIA (1968).


that also includes a wonderful supporting cast, not the least of which is a VERY creepy Richard Chamberlain looking to change his image from the clean-cut Dr. Kildare.

Not only picture Marvin playing the role, but look quick for members of the San Francisco comedy troupe The Committee (Howard Hesseman most notably), The Grateful Dead (A very funny Jerry Garcia, Mickey Hart, Phil Lesh & Bob Weir) as well as Big Brother and The Holding Company featuring Janis Joplin.
   Another film Marvin turned down reportedly without even reading the script gave Scott his greatest success the following year. Any guesses?

Point Blank (1967), Saturday, May 22nd: This seminally influential films, is, as I like to call it, the first arthouse action film. What can be said about this neo-noir cult clasic that hasn’t been said already by yours truly and countless others?

Point Blank, 1967




John Boorman’s vastly original style still packs a wallop due largely to star Lee Marvin’s haunting performance.


Again, a veteran supporting cast keeps the film watchable, along with the surrealistic execution presented in muted colors, trippy sound, innovative editing and photography. At the end of the day it’s still Lee Marvin one recalls long after the film is done. If you’ve never seen it, you’re in for a surprise. If you have seen it, see it again. As with all classics, there’s always more to experience with each viewing.


Reflections in a Golden Eye (1967), Tuesday, May 25th: Once again, a stylized 1960s film, this time strangely directed by the legendary John Huston and starring Marlon Brando and Elizabeth Taylor. 

Original poster for Reflections in a Golden Eye.


The basic premise is easy to describe but the characters and execution certainly are not. Brando is a southern military officer unhappily married to shrewish Elizabeth Taylor, who is carrying on an affair with docile Brian Keith, who is unhappily married to fragile Julie Harris. Along for the strange proceedings is Robert Forster making his film debut as a young recruit who pines for Taylor. Hence the premise.
   As for the execution, it’s all shot in a strange and sickly sepia tone and the character interactions go beyond bizarre, especially Brando. It’s all based on an equally bizarre novel by Carson McCullers. its inclusion here is based on the fact that Marvin was offered the Brando role but ultimately turned it down. Taylor had accepted the role as a chance to help her close friend, Montgomery Clift, who died before he could play the part. Longtime Clift rival Brando came aboard and the entire production is an acquired taste. I found the film rather mesmerizing, even more so if you imagine Lee Marvin in the role. After all, he did say, this.

The Devils Brigade (1968), & Kelly’s Heroes (1970) both Sunday, May 30th: Here are two films that applied 1960s sensibilities to the genre of WWII action films in the wake of the immense popularity of The Dirty Dozen. Although The Devil’s Brigade is not as well known, personally, I like them both, with maybe Brigade, a little bit more.

Original ad art for The Devil’s Brigade not accidentally similiar to the Dirty Dozen.

Allegedly based on a true story, it tells the story of a team of crackerjack Canadian soldiers led by Cliff Robertson, teaming up with a ragtag group of American G.I.s led by Vince “Ben Casey” Edwards all under the command of an over-the-hill William Holden. They even managed to recruit ‘Dozen’ alum Richard Jaeckel in a scene stealing performance as a jackrabbit-like G.I. named Omar. The standout is Claude Akins in a performance to rival John Cassavetes in Dozen. Unfortunately, there’s also an annoying performance by Andrew Prine and plenty of former football players, ala Jim Brown in The Dirty Dozen.  
   As for Kelly’s Heroes, Dirty Dozen alumni Donald Sutherland and Telly Savalas along with comedian Don Rickles are the best thing in the movie that sadly toplines a very wooden Clint Eastwood. A former boss and I were once comparing the films and he argued Kelly’s Heroes had a more believable premise of men risking their lives not for glory but for a treasure of Nazi gold. All I can say to that is you be the judge.

The Dirty Dozen (1967), Monday, May 31st: Not the first film with a plot consisting of WWII renegades on a secret mission, but certainly the best.

Poster for THE DIRTY DOZEN, the best of Men on a Mission films in which the genre is defined in the ad.



Even before The Devils’s Brigade and Kelly’s Heroes, there was Roger Corman’s The Secret Invasion (1964) with a similiar theme. All that aside, this “men-on-a-mission” classic puts all the others to shame. TCM has long been a fan of this timeless classic, showing it whenever they can and promoting it as well, as seen here. Not much more to add than that, other than to suggest it certainly is worthy of repeat viewings. 

So, there you have it: May 2021 on TCM for Lee Marvin fans. Things are surely looking up!
• Dwayne Epstein

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TUCSON NOTABLE: LEE MARVIN

Tucson Notable, a running series in the Arizona Daily Star newspaper, recently revived one particular notable in its online archive from 1985. He was interviewed for the paper by reporter Johanna Eubank in a piece entitled, “Tucson notable: Lee Marvin called Tucson home.”
The article was brought to my attention by fellow biographer Marshall Terrill via the social media platform, Facebook. Marshall and I go way back so he knows of my interest in all things Marvin making The Tucson Notable article a natural for this blog entry.
The Tucson Notable author does an admirable journeyman’s task of celebrity journalism with a few obvious and noticeable exceptions. Granted, it’s a rather short piece to begin with but within those perimeters she still manages to get a few things incorrect that are worth pointing out:
• She wrote that Marvin and Richard Jaeckel are the only cast members from the original that appear in the sequel, The Dirty Dozen: The Next Mission (1985). Not quite…

Lee Marvin (left), looking like a wax museum figure from the Hollywood Museum gets his orders from General Ernest Borgnine in the lackluster DIRTY DOZEN sequel.

Speaking of The Dirty Dozen, director David Ayers is apparently still moving forward with his updated remake, for better or for worse.
• She also states that The Killers (1963) would later become a TV series. Um, not hardly. Besides, what would be the premise? Kill a different subject each week and then find out why? In the aftermath of the Kennedy assassination they couldn’t even broadcast the original TV-movie so they sure wouldn’t make it a running series!

Original ad for THE KILLERS which included the tag line, “There’s more than one way to kill a man!”

I realize what I stated here might seem like nitpicking, but in this day and age of cries of “fake news” vs. ‘real news,” I though it worthy of pointing out to anyone who wants to set the record straight what the actuals facts are. Of course, if you want the actual researched facts, there’s always Lee Marvin Point Blank.
– Dwayne Epstein

 

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ROBERT ALDRICH: A 100TH ANNIVERSARY TRIBUTE

Robert Aldrich was born one hundred years ago today and we classic movie fans are all the richer for it! Lee Marvin Point Bank readers are familiar with Marvin’s and Aldrich’s working relationship as they made a great film together in almost every decade of Marvin’s career: Attack!, 1956; The Dirty Dozen,1967; Emperor of the North, 1973. In fact, it was almost more than that as Marvin wanted Aldrich to direct Death Hunt (1983), which would have completed the last decade of Marvin’s career.

(L-R) Director Robert Aldrich and costars Lee Marvin & Ernest Borgnine at the initial script conference for THE DIRTY DOZEN.

Probably the most remembered of both of their careers was indeed The Dirty Dozen.
The success of that film catapulted both the actor and the director to rarified heights of fame and success.

Aldrich demonstrates to Lee Marvin how to kick John Cassavetes in THE DIRTY DOZEN.

Marvin got a million dollar paycheck from then on and was a top ten box office sensation for the next decade. Aldrich continued to direct & produce films that may have defied description, but maintained his high level of quality. His signature style, which included a love of characters bordering on the grotesque (Whatever to Baby Jane?, The Grissom Gang, The Choir Boys) and a distinct brilliance at mounting suspense through editing and character anticipation, put him in league with some of the greatest directors of all time.

Case in point: The powerful climax to one of my favorites of his, Flight of the Phoenix, compares perfectly to the scene in which Lee Marvin goads Clint Walker into a knife fight in The Dirty Dozen. Watch the way Aldrich mounts the suspense in Phoenix by building to quicker cuts, showing the stranded characters’ apprehension in hopes of the resurrected airplane’s ability to start up just one more time. Rosaries are prayed on, sweat builds on the nearly dehydrated men, some of whom begin to jump up and down as the audience’s anticipation reaches a pitch. In Dozen, he does the same with mounting edits, sidelong characters laughing and goading the giant Walker to stab Marvin, as M.P. Richard Jaeckel is shown reaching for his sidearm. Both scenes are signatories of Aldrich’s unique style of cinema and it’s a style that is sorely missed in this day of computerized technology.
Aldrich himself may have had the best last word about such things. When Marvin visited Aldrich in the hospital as he lay dying of cancer, Marvin asked him, “Can I get you anything?” The wizened director commented, “Yeah, a better script.”

Robert Aldrich: August 9th, 1918 – December 5th, 1983.

I think that’s something we could all use now.
-Dwayne Epstein

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